I was particularly surprised by the beauty of tone and quality of intonation of contralto Helena Rasker. Although she sang a small role, it was the first time during the whole night that I heard a voice that could unite unquestionable beauty of tone with careful attention to musical phrasing and legato. Singers like Helena Rasker often offer small moments of relief, especially when the opera is two hours long and with no break.

Operawire 21.08.2023

And what can we say about the impeccable journey through emotions that Helena Rasker gave us as Orpheus? The voice of the Dutch contralto, velvety in the low and middle but with a characteristic shine in the high, fit excellently into the role of the mythical hero. Her performance offered stark contrasts: When she faces the Furies on her descent into the Abyss, her voice sounds firm. Melodious, sweet and in perfect harmony with the harp, she proved capable of tempering the character of the fiercest man. With Eurydice her voice seemed turbulent, agitated and when she lost her… Ah! That “Che faró senza Euridice” that takes us through the seas of guilt, despair and the final acceptance that the only possible way out is death.

Bachtrack 15.06.2023

Der nicht weniger schwache Andronico, Bruder des gefürchteten Tyrannen Vitaliano, verkleidet sich als Frau, um seiner Angebeteten Leocasta näher zu kommen, und versagt jämmerlich, als sie seine wahre Identität entdeckt. Helena Rasker, mit ihrem dunklen Alt die tiefste Stimme im Ensemble, gelingt in dieser Hosenrolle dank ihrer androgynen Erscheinung eine imponierende doppelte Travestie.

Concert.de 20.11.2022

Fine singing takes centre stage. You’d be forgiven for spending half the evening wondering if this is a woman playing a man dressed as a woman, or a woman dressed as a man…whatever. The main thing is that there is excellent singing.

Financial Times 11.2022

And if the character of Andronico is a plot-twist too far – Helena Rasker nonetheless justified the character’s presence with a triumphantly charged ‘È pur dolce ad un’ anima amante’

Mundoclassico 11.2022

Helena Rasker, irrésistiblement drȏle dans le rȏle d’Andronico qui se travestit en femme pour vivre plus proche de sa bien-aimée.

Toutelaculture 25.11.2022

On retrouve le contralto velouté et chaleureux d’Helena Rasker dans le rôle écrasant de La Femme/L’Arbre dont la souplesse et les couleurs, l’envergure vocal et la dimension théâtrale impressionent.

Resmusica 25.01.2022

Helena Rasker was a wonderful grandmother, who started the beautiful ensemble at the end of the first act with great authority.

Trouw 31.01.2021

Die sechs Vokalisten agieren allesamt in der oberen Spitzenklasse, stellvertretend sei Helena Rasker genannt, als koloraturbewegliche Vertreterin der körperlich-irdischen Liebe. Ihre Wutausbrüche sind ein Riesenvergnügen.

Der Tagesspiegel 13.04.2022

The silent room became even quieter.

On the dying echo of the horn sound, contralto Helena Rasker began to sing a song from Beethoven’s cycle ‘An die ferne Geliebte’ (…) Whenever Rasker sings, it becomes a bit quieter in an audience. A silence full of awe, for this is such a beautiful voice.

Trouw 02.08.2020

Dutch contralto Helena Rasker was phenomenal as the Old Countess (…) In her expanded role she managed to compete with the prima donna of the work Lisa, and this was audible in the enthousiastic reception from the audience afterwards.

Operamagazine14.11.2019

Helena Rasker’s deep contralto was the ideal complement, her grasp of Benjamin’s intent impeccable – the way she interacted with entwining woodwind in ‘The Minister and the Stranger’ was positively hypnotic. Her breathless way with the disjointed line of ‘The Minister and the Stranger’ was similarly perfectly placed; she coped with the low register demands of ‘Mother(s) and Child(ren)’, a deathly lullaby, with perfect ease.

Seen and Heard International 06.03.2019

Komsi and Rasker brought the vocal lines to vivid life, Komsi often reaching the stratosphere, Rasker stern and steely in the lower reaches. Although neither is a native English speaker, they got the text across with ample clarity.

The Evening Standard 06.03.2019

Into the little Hill…perhaps sounding edgier and more painfully urgent than ever up close at the Wigmore…impressive contralto Helena Rasker…

The Guardian 08.03.2019

Ganz nebenbei lernt man, wieso im Barock das Geschlecht des Sängers bei der Besetzung zweitrangig war. Aus der Altistin Helena Rasker macht das Kostüm nämlich einen optisch so perfekten Claudio, dass man angesichts ihrer dunkel und herb timbrierten Stimme zu Anfang tatsächlich zweimal hinhören muss. Wenn sie in der Arie «Con tromba guerriera» in prächtig durchschlagskräftigen Tönen mit der konzertierenden Barocktrompete wetteifert, ahnt man viel von der Macht der Stimme, die Händels Sänger über ihre Zuhörer ausübten.

Neue Zürcher Zeitung 26.05.2017

Ein wares Juwel geworden ist die Arie des Claudio, zeitweise Sillas Widersacher, der im Duett mit der Barocktrompete zum Kampf ruft. Die Altistin Helena Rasker ist eine der Stärksten im Ensemble, mit toller Tiefe und großer Sicherheit hält sie die Töne bis zum nächsten Trompeten – einsatz – dem Publikum stockt der Atem.

Frankfurter Allgemeine Zeitung 28.11.2016

Dutch contralto Helena Rasker has a wonderful warm deep voice and a stage presence to match. She was convincingly sympathetic towards her widower in his discomfiture.

Opera Brittania 15.11.2015

Dutch contralto Helena Rasker produced grand tone as Erna.

Opera News 13.11.2015

Helena Rasker’s contralto as Fisherman’s wife Erna brings something like eroticism into play with her strong chestvoice.

Süddeutsche Zeitung 16.11.2015

Seasoned Dutch contralto Helena Rasker brings rich, ethereal sensuality to Johannes’s dead wife Erna

The Londonist 16.11.2015